Archery Target – Prop Breakdown – Karyna Trychyk
箭靶 – 道具分解 – Karyna Trychyk
Introduction
Hi! My name is Karyna and I’m a 3D Artist working at Wargaming.net.
介绍
你好！我的名字是Karyna，我是一名在 Wargaming.net 工作的3D艺术家。
The medieval setting is my favorite and I wanted to make a hero prop out of an ordinary thing, that commonly takes secondary roles. It was really fun to fill it with tiny details, telling a story and making it visually appealing. The set of software I used is very traditional: 3DS Max, Zbrush, Substance Painter, Marvelous Designer for cloth simulation and Marmoset Toolbag for presentation.
中世纪的场景是我的最爱，我想用一个普通的东西制作一个英雄道具，通常扮演次要角色。用微小的细节填充它，讲述一个故事并使其具有视觉吸引力，这真的很有趣。我使用的软件集非常传统：3DS Max，Zbrush，Substance Painter，用于布料模拟的Marvelous Designer和用于演示的Marmoset Toolbag。
Reference Gathering
First things first, I started by gathering some references. The subject itself might seem very trivial, but still, it’s an important step, that shouldn’t be missed. Only observation of real-life objects gave me the knowledge, that straw targets tend to be slightly concave towards the center, a bit flattened at the bottom and can miss binding ropes.
参考资料收集
首先，我从收集一些参考资料开始。这个主题本身可能看起来非常微不足道，但它仍然是重要的一步，不应该错过。只有观察现实生活中的物体才能让我知道，稻草目标往往向中心略微凹陷，底部有点扁平，可能会错过捆绑绳索。
Then I thought about what details I could add. I’ve come across cloth on targets during my research, but to me, a straw target is a beauty in itself, so adding a piece of cloth attached by one corner is a kind of compromise. I don’t really have a reference for the doll, but I thought it would be nice to have someone watching the training process. Though this little guy could find a safer place, of course.
然后我想到了我可以添加哪些细节。在我的研究过程中，我在目标上遇到了布，但对我来说，稻草目标本身就是一种美，所以添加一块由一角连接的布是一种妥协。我真的没有娃娃的参考，但我认为如果有人观看训练过程会很好。当然，这个小家伙可以找到一个更安全的地方。
Blockout
Initial blockout was made in 3DS Max. I started with rough shapes to see how they work together. At this stage, I decided about the wooden stand and the size of my target, and then for each part made base models with -even mesh density, that could be taken straight to Zbrush.
封锁
最初的封锁是在3DS Max中完成的。我从粗糙的形状开始，看看它们如何协同工作。在这个阶段，我决定了木制支架和目标的大小，然后为每个零件制作了网格密度均匀的基本模型，可以直接带到Zbrush。
The target itself is a loft with scale deformation, ropes are created from splines. What’s important here is not to forget to check the “Generate Mapping Coords” checkbox.
目标本身是一个具有比例变形的鸽舍，绳索是由样条形成的。这里重要的是不要忘记选中“生成映射坐标”复选框。
I made a quick and rough texture for straw in Substance Designer to help me visualize my object in Zbrush, but later I completely replaced it with a photo-sourced texture. It was a little trial and error here and there, I used different techniques and kept those that worked better.
我在 Substance Designer 中为 Straw 制作了一个快速而粗糙的纹理，以帮助我在 Zbrush 中可视化我的对象，但后来我完全用照片来源的纹理替换了它。这里和那里都是一个小小的尝试和错误，我使用了不同的技术，并保留了那些效果更好的技术。
For wood, I did basic sculpting and projected some details from photo-scanned assets. Cloth pieces except for the wrapped bands were simulated in Marvelous Designer. Usually, I tend to make a sculpting pass on cloth in Zbrush, but the folded piece was impossible to bake, so I had to rely on texturing in Substance Painter.
对于木材，我做了基本的雕刻，并从照片扫描的资产中投影了一些细节。除了包裹的乐队之外，布片都是在《了不起的设计师》中模拟的。通常，我倾向于在Zbrush中对布料进行雕刻，但是折叠的作品无法烘烤，因此我不得不依靠Substance Painter中的纹理。
Though I made high poly ropes on the target, I eventually didn’t use them, but baked one straight piece and mapped them all to it. For creating ropes, most often I replace geometry with IMM brushes. Here’s the technique:
虽然我在目标上制作了高聚乙烯绳索，但我最终没有使用它们，而是烤了一块直的绳子，并将它们全部映射到目标上。为了创建绳索，我最常用IMM画笔替换几何形状。这是技术：
It’s quick and flexible, and you can always adjust the curve in Zbrush to create irregularities. This is the exact method how I made binding for arrows, from a default helix spline in 3DSMax.
它快速而灵活，您可以随时在Zbrush中调整曲线以创建不规则性。这是我从 3DSMax 中的默认螺旋样条线为箭头进行绑定的确切方法。
When everything was finished in Zbrush I moved to Substance Painter for texturing. When baking I used the “Match by Mesh Name” method, it helps to keep relevant AO from different mesh parts but avoids artifacts in the normal map.
当一切都在Zbrush中完成时，我转到Substance Painter进行纹理处理。烘焙时，我使用了“按网格名称匹配”方法，它有助于保留来自不同网格部分的相关AO，但避免了法线贴图中的伪影。
As I mentioned, the cloth was textured entirely in Substance Painter. I started with base texture, layered some details and dirt, and then painted worn edges, holes and cuts. For this purpose, I created a set of height-alpha textures and assigned them to brushes. Torn edge was sculpted in Zbrush, holes and cuts were made from wonderful VDM brushes by , which I got on the Artstation Marketplace.
正如我所提到的，布料完全是在Substance Painter中纹理化的。我从基础纹理开始，分层一些细节和污垢，然后画出磨损的边缘，孔和切口。为此，我创建了一组高度 alpha 纹理，并将它们分配给画笔。撕裂的边缘是用Zbrush雕刻的，孔和切口是由（https://www.artstation.com/nicolasswijngedau/store）用美妙的VDM刷子制成的，我在Artstation市场上得到了它。
Everything else is pretty straight-forward. Each material started from creating a base and further refining. Straw cards were placed by hand, small strands on ropes were distributed with scatter tool in 3DSMax.
其他一切都非常简单。每种材料都从创建基础和进一步精炼开始。用手放置稻草卡，用散射工具在3DSMax中分发绳索上的小股线。
Once textures were ready, I assembled my meshes and exported them into Marmoset for final renders. At this stage, I did some tweaks in textures and in composition, like rearranging arrows and adding scattered straws on the floor. Rendering in Marmoset is fast and easy, and you have nice tools within a few clicks, like adding a transparent shadow-catcher or rendering a turntable. My lighting setup is sky and skylight for ambient and main light, plus a few additional lights to highlight details.
纹理准备就绪后，我组装网格并将它们导出到Marmoset中以进行最终渲染。在这个阶段，我对纹理和构图进行了一些调整，比如重新排列箭头和在地板上添加散落的吸管。在Marmoset中渲染既快速又简单，只需单击几下即可获得不错的工具，例如添加透明的阴影捕捉器或渲染转盘。我的照明设置是环境光和主光的天空和天窗，以及一些额外的灯光来突出细节。
Here’s my lighting setup and some tips about Marmoset that probably everyone knows.
这是我的照明设置和一些关于狨猴的提示，可能每个人都知道。
Well, it was fun working on this project and I’m so glad to be given an opportunity to talk about it. Thanks for reading all through these words and hope it was somehow useful!
嗯，在这个项目上工作很有趣，我很高兴有机会谈论它。感谢您通读这些文字，并希望它以某种方式有用！
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